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Meow Says the Wolf

01 Monday Jan 2018

Posted by danielwalldammit in Travel, Write Drunk, Edit Stoned

≈ 5 Comments

Tags

Children, Creepy, Fun House, George R R Martin, House of Eternal Return, Meow Wolf, New Mexico, Odd, Santa Fe

26047434_10154931395015706_3812321740213932580_n

I told Danielito, his name is ‘Bob’ for the balance of our visit. I was Daniel first.

I could easily wish the crowds away, but that would be foolish. They are a big part of the experience here at Meow Wolf. Mere moments after entering the fun house, our party is already separated into at least 3 separate groups. Moni is nearby, but I’m not sure where. Her sister and I are together. She is nervous and worried the place will be scary. I’m not entirely re-assuring. We catch a glimpse of her two kids. They rush on by as their mother tries to call them back.

It’s no use going after them. Did they go up into the tree house, or over to the musical mastodon? Perhaps into the fish-tank? We’ll find them eventually, but not by looking. No matter. One is old enough. The other has been here before. They will take care of each other. So, we let them have their fun.

I’m recovering from a bad flu, so I tire easily. Luckily, there are places to sit and watch the people. This is my second time at Meow Wolf, so I am happy to take my time; happier still to rest when I can. A woman walks by urging her child to stay nearby. A few minutes later she walks by again, alone.

“Baby, where are you?”

I get up to help her look for the child and instead find myself helping a couple women trying to connect a completely different child with his parents. They are on it; I’m just trying to see if I can help, but it’s difficult. You’re never more than one room away from getting completely lost in this place. Give yourself time and you’ll find your way back to the main entrance. But how to search more than one room without losing these two and their momentary ward?

A solution takes the form of a stumbling old man in mad scientist garb. I’ve seen him before. He gets lost in corners and regularly stands motionless for odd periods of time. Soon after meeting the women, our shambling scientist becomes a competent staff member with an intercom and a clear set of procedures. Unfortunately, the first step (getting the kid’s name and that of his parents) doesn’t seem to be getting anywhere. The kid is just too disoriented to answer even these questions. Another child is screaming in my ear. It’s disconcerting, but this child is already in her own mother’s arms, so that’s probably a good sign. Still those are blood-curdling screams for such a little girl. What has her so scared?

“I don’t want to leave!”

Ah, …got it!

The girl keeps screaming that she doesn’t want to leave. She screams this as though her life depended on it. Nearby, the once-shambling scientist calls three names into his head set. He is well on his way to solving the problem.  I wander off to find something new. I’m told there have been some changes to a few rooms, and the people scrambling about me add a whole other layer of new things to see.

A young woman opens up a closet, then stands in awe as people behind wait for the moment to pass. Others charge into rooms and devour them. An elderly woman has trouble navigating a narrow staircase. The crowds wait patiently. There is plenty to see. Just about every where you look, there is something odd to see, something weird to wonder about. Kids open the drawers and study their contents. A middle aged man yanks out a drawer a little too far and spends the next few minutes putting its spilled contents back. Some tap on shiny mushrooms, hoping to know what sound they will make. You can play a piano, an odd piano, or even a lazer-lyre.

 

 

I found myself in the entrance to the place, a large area resembling a classic suburban home. It is two stories tall, filled with all the usual features of a middle-class home; a kitchen, a living room, a study, several bedrooms, a nice bathroom, and so on. There are also a few things you don’t find in most middle class homes. A few inter-dimensional portholes, lots of odd scenes. You can find the beginnings of a narrative here in this home. Notes and booklets scattered throughout the rooms allude to scientific experiments gone wrong, perhaps a bit of a cult gone wronger.

I sit here and watch the crowd. Within minutes a little girl asks if she can sit on my lap. She is adorable, but her mother isn’t having any of it. That’s understandable, of course, but I have to wonder. I’m no Santa Clause. Is there something about this place that softens my resting-bastard-face? The next little girl seems to want my attention to. Her parents shuffle the family by without any event.

Perhaps they just want to sit down?

I free up the chair.

Standing on a narrow bridge a woman turns towards me saying; “that’s just the weirdest thing I…” It’s at that point, she realizes I’m not the person she thought she was talking to. It’s understandable. At one point, I mistake a woman for a manikin. In my defense, she wasn’t moving. I find another mad scientist repairing a refrigerator door. That may seem an odd job for a scientist, but in his defense, not every fridge serves as a porthole into another dimension. The condiment rack on the door of this porthole is loose, and there is no telling what that could mean!

I bump into Moni and her family a couple times. All are happy. The kids are positively glowing.

Just like some of the exhibits.

Other things, you may hear in this place?

“This is the most ridiculous thing.”

“Don’t go in there!”

“Oh, oh, oh!”

“that’s how we came in”

“we came in through the fireplace?”

“How do you suppose that kid got stuck in the toilet?”

“What’s the big deal about this place? …Oh, I see.”

 

 

***

Meow Wolf is the brain-child of George R.R. Martin. Yes that George R.R. Martin! It’s an artist collective and a non-profit located on the south-side of Santa Fe, New Mexico. What they’ve created here could be described as a fun house, but that doesn’t even begin to do the place justice. Suffice to say that a lot of very creative people have invested a lot of brilliant thought into this project, and the results are spectacular. I reckon it can be a little stressful for the parents, but they will live through the experience, and so will their kids (who will no doubt keep the memories well into their own grey years). For the rest of us, I expect the key to this experience is opening ourselves to its disorienting qualities. You may think for a moment that you are beginning to figure something out, or that you know what’s around the corner to the left, but don’t be surprised if you are wrong. No matter! If you can make sense of this place, you are probably doing it wrong.

Thanks to Moni and her family who have contributed pics and suggestions. As usual, you may click to embiggen.

Hm...
Hm…
Moni and her Mom, at home in any kitchen
Moni and her Mom, at home in any kitchen
A surplus of doorknops
A surplus of doorknops
A performance artist and her pet dragon
A performance artist and her pet dragon
Belongs with the musical mastadon
Belongs with the musical mastadon
Fish Tank (mirrors a normal-sized tank in the front room)
Fish Tank (mirrors a normal-sized tank in the front room)
Lots to read
Lots to read
Wonder what kind of sermon you could hear in this place?
Wonder what kind of sermon you could hear in this place?
Life in the fish tank
Life in the fish tank
An oddly normal corner
An oddly normal corner
Southwestern weirdness
Southwestern weirdness
...among other things
…among other things
A cool family
A cool family
Do not climb on the spider!
Do not climb on the spider!
When aspen have eyes
When aspen have eyes
Motivational Weirdness
Motivational Weirdness
26166916_10215201306131055_6736171591348282671_n
Creepy
Creepy
The head of the musical mastodon
The head of the musical mastodon
Hm...
Hm…
Most kids just take a bath
Most kids just take a bath
Teenagers room, ...a teenager with a bit more angst than usual
Teenagers room, …a teenager with a bit more angst than usual
I wonder if she will teach me to weave?
I wonder if she will teach me to weave?
yep
yep
More creepy lit
More creepy lit
Should I run or give it a big hug?
Should I run or give it a big hug?
An Angstier teen
An Angstier teen
Yes, you can enter the ice box
Yes, you can enter the ice box
Poor little guy! ...er, big guy.
Poor little guy! …er, big guy.
A special kind of Hell
A special kind of Hell
Parking lot
Parking lot
More lit
More lit
Little Guys
Little Guys
The ribs make music
The ribs make music

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A Rambling Ranty Post about Realisms on the scReen

06 Thursday Jul 2017

Posted by danielwalldammit in Movies, Native American Themes

≈ 14 Comments

Tags

Culture, Fantasy, Fast Runner, game of thrones, George R R Martin, History, Realism, Reality Television, War

Someone I know and love likes to say that Game of Thrones is all fake. It’s fantasy, so there is nothing realistic about it. This same individual (whom I know and love) eats up reality TV like it was candy. I think he knows as well as I do that those shows are often contrived, but that doesn’t stop him from getting really into the moment that alligator is on the hook and the second guy in the boat can’t seem to find his shot. I know as well as he does that Westeros ain’t real, but that doesn’t stop me from worrying about the fate of Jon Snow. Each mode of storytelling works for one of us and not the other.

But what does realism have to do with it? Or anything else for that matter?

***

It’s easier to see the connection for reality TV, not because it’s more real in an objective sense, but because the theme is more central to the genre. Reality television purports to be showing us something about how people in some part of this world really do live. That’s a claim that goes a bit beyond the story-line itself and reaches into the mess of life we sometimes call the real world. That claim constitutes a significant portion of the genre’s appeal. It’s a bit like porn, actually. The dialogue may be utter crap, but somehow the sense that you are seeing something real makes it a little more interesting. At least I think that’s the point, or at least part of it. For myself, I just can’t get into it. Knowing just how much manipulation goes into the stories told in reality television, constitutes a bit of deal-breaker for me. Perhaps I would enjoy it more if I could suspend disbelief and just enjoy the stories, but how does that suspension of disbelief work when a sense of veracity is central to the genre?

…also, there is the expository crutch!

Reality television leans very heavily on the use of exposition. Far too often, for me anyway, they break away from the action to have one of the characters explain events to the audience in their own words. Without these moments we would be missing a lot of the plot-line. Reality television uses these moments to fill in the gaps. It also uses them to tell us what’s at stake in the action, often playing up the drama well beyond any significance we could draw from the events ourselves. …if we don’t get this fish trap to work we’ll starve! We need to fix the oil leak in our car or we’ll freeze to death on this mountain top. That chef needs to change his recipe or the whole business will go under! …you get the idea. They’ll repeat these narratives a few times each episode, just to make sure you get caught up in the point. Maybe, I’m a hard sell, but most of the time I just don’t believe them. More importantly, I find the whole convention damned tedious. When did so much exposition become good writing? I’m guessing that moment in television history came during the early episodes of MTV’s Real World and that first season of Survivor.

Remember Survivor? Remember the hype leading up to the first episode? This was supposed to be about people surviving on their own under primitive conditions. Only they couldn’t! Those guys really couldn’t do much to feed themselves and contribute to their own survival. But they did get just enough food and water from the show producers to survive so long as they didn’t waste their energy trying to survive on their own. So they mostly sat around and bickered with each other. Somewhere in there, I imagine, the production team must have had a collective panic attack. …My God, the whole story just ain’t happening! What do we do? The answer turned out to be high school soap opera, and thus the master script was born for just about every reality television program made ever since.

That’s how I imagine it anyway. It may not be real, but if you had me and five of my friends telling you the story of this blog post, I’ll bet it would pass muster for reality TV.

“…this really is a must write blog post for Dan. He’s at his breaking point.”

“I knew, I had to do post something today. This post was like a dark cloud hanging over my head.”

“If Dan doesn’t finish this post today, I’m pretty sure he’ll be eaten by black bears.”

“I don’t see what the big deal is. Nobody reads blogs anymore anyway.”

I’m voting that last fucker of the island!

***

But let’s come back to the Game of Thrones! I get the concern. It’s fantasy. There are dragons. Magic works (except when it doesn’t), and well, hell, did I mention there are dragons? Clearly, some things about Game of Thrones are not real at all. Still, I think the show has two (maybe three) realisms lacking in many more ‘realistic’ genres.

First and foremost, it’s all the death, the gruesome terrible deaths, the ones that happen to central characters that we all know and love. Love it or hate it, George R.R. Martin’s penchant for killing off key protagonists has long since become the defining feature of the show. For myself, I love it, but there is a certain dwarf that better be in good health at the end of this coming season or I’ll, I’ll, …I don’t know what I’ll do.

Take that Martin!

People ask Martin about this all the time. I’m particularly fond of the answer he once gave The Independent:

“A writer, even a fantasy writer, has an obligation to tell the truth and the truth is, as we say in Game of Thrones, all men must die,” he told Galaxy’s Edge Magazine. “Particularly if you’re writing about war, which is certainly a central subject in Game of Thrones.”

He continued: “We’ve all read this story a million times when a bunch of heroes set out on an adventure and it’s the hero and his best friend and his girlfriend and they go through amazing hair-raising adventures and none of them die. The only ones who die are extras.

“That’s such a cheat. It doesn’t happen that way. They go into battle and their best friend dies or they get horribly wounded. They lose their leg or death comes at them unexpectedly.”

The author goes on to explain, slightly morbidly, that we’re all going to die at some stage as mortality is inevitable. “Once you’ve accepted that you have to include death then you should be honest about death and indicate it can strike down anybody at any time.

“You don’t get to live forever just because you are a cute kid or the hero’s best friend or the hero. Sometimes the hero dies, at least in my books.”

I take that to be a kind of realism. It’s not about authentic costumes or weaponry, or the details of some known historical event. It’s about the human cost of warfare. Martin is known to have patterned his fiction after some real historical conflicts (most notably the War of the Roses), but of course his work remains fiction. Hell, it remains fantasy-fiction. So, we have no baseline from which to compare his description of events to a known fact, at least not any he is obligated to render with accuracy. Still, Martin’s willingness to kill off the characters we care about tells us something about war that many more ‘realistic’ stories keep leaving out.

I would add that it isn’t just Martin’s willingness to kill important characters that sets his stories off from others. It’s his willingness to do it unexpectedly, suddenly, and often without any hint of heroics in the moment of death. Time and again, Game of Thrones invites us to identify with a character, to root for them, only to kill them in the end.

…only to leave us watching as the struggle goes on without those whose story arc had once defined the whole meaning of the show for us.

That is a kind of realism, one largely absent in a good deal of historical fiction.

***

None of this is exactly Italian neorealism. But each of these genres effects a kind of realism amidst a story-line saturated with fiction. Where one purports to show us something akin to lives of people in odd walks of life, another aims to show us how human beings struggle to deal with terrible events. For either to work, something in story-line must resonate for the viewer (or reader).  Each in its own way speaks to a sense of reality, though each also weds that sense of reality to a fabricated universe of its own.

***

Historical accuracy might be thought to present another type of realism, but of course historical films (and even documentaries) are saturated with their own contrivances. The blog, An Historian Goes to the Movies presented a very thoughtful discussion of the subject here, here, and here (and really throughout his entire website). In one of the most interesting passages in this series, he talks about the public’s penchant for scrutinizing the accuracy of material culture and fighting techniques in film while ignoring the historical accuracy of plot points:

I find it very striking that audiences apparently want a sense of accuracy about violence, but not about plot. They cheerfully accept absurd plot developments (like Isabella being way too young and way too far way to have an affair with Wallace), but will complain if the sword fighting looks too fake. (Compare contemporary film violence to that from the 60s, for example, to see just how much effort Hollywood has put into improving the realism of its violence.)

Imagine for a moment a film in which the emphasis was on accuracy of the plot, but not on accuracy of the costuming or weaponry. Picture William Wallace running around in a 20th century British military uniform carrying an AK-47 but engaging in fairly accurate political maneuverings.

Most people would react to that poorly, I suspect, because Hollywood trains us that accuracy means specific things and generally excludes other things. But theatrical and cinematic adaptations of Shakespeare employ this device fairly frequently. Instead of setting his Richard III in the 1480s, like the historical Richard III, or in the 1590s, when the play was first performed, Ian McKellan set his version of the play in the 1930s, depicting Richard as a would-be fascist dictator. A particular favorite detail is the arrangement of 16th century poem “Come Live with Me and Be My Love” as a sort of Swing-era piece. The famous “Now is the winter of our discontent” speech becomes a political speech. It works beautifully, and while the setting isn’t faithful to the play as Shakespeare envisioned it, it works marvelously and offers a wonderful comment on the politics of both the 15th and the 20th centuries while still being true to the spirit of the play. This is a film making careful, clever use of its choices about historical inaccuracy.

Perhaps the most interesting part of this commentary lies in the comparison with Shakespearean theater. While it’s easy to fall into the trap of thinking that the kind of bias he exposes here is just to expected from viewers, the comparison with Shakespeare shows us that it isn’t. There is indeed at least one genre which reverses the emphasis, taking us out of the realm of period dress and sword techniques and inviting us to dwell on the plot-line.

I want to underscore at least one aspect of this question about accurate plot-lines, namely the sense of a character’s world view. Historical plot-lines can be inaccurate for any number of reasons, but one of the most interesting and common inaccuracies would seem to be a penchant for reading modern thought worlds into the motivations of historical characters. In this respect, Mel Gibson is the gift that keeps on giving. Whether it be a southern plantation owner who doesn’t own slaves, or William Wallace crying ‘freedom’ as he is about to die, his historical characters typically speak to the sensibilities of modern peoples more than those of the era in which they purportedly lived. Whatever the (in-)accuracy of his dress or battlefield depictions, Gibson’s characters are often living anachronisms, thinking and behaving in ways that have less to do with the period than the social order of the modern day.

Here is another respect in which I think Game of Thrones is particularly good. For those of us who live in a modern republic, the logic of an aristocracy can seem quite vicious, often unnecessarily so. Why all the fighting? Is it vain ambition? And if these characters must fight for control of their worlds, could they not at least spare the children of their enemies? Even the title of the series points to the answer, but I believe it was Cercei who explained it best.

Again, this is fiction. Hell, it’s fantasy fiction, but it’s fantasy fiction pointing at a kind of world that has existed in human history, one many of us have trouble grasping. It’s a world in which heredity defines power, and even a child with the wrong bloodline is a very real threat to the powers that be. This too is a kind of realism, one which reminds us people in other times and places may not be able to act as we would, even if they wanted to. I admired Eddard Stark’s efforts to show mercy in this scene, and I expect I’m not entirely alone in this. But of course we call know how that turned out. We are 6 seasons into the show, and thus far, I have every reason to believe Cersei was right about this. Not just Certei. Martin too. This is Martin telling us something about the social order of a certain kind of world. His world may be fiction, but others like it would not be, and his story does indeed help to illustrate how those worlds work. Is it realism? Not quite. But you could learn a lot about real worlds from this kind of story.

***

So it seems the attempt to show us how certain people live in certain times and places always reflect the priorities of those who produce them. Are they trying to show us how people dressed, how a certain series of events unfolded, or how people thought about their lives in the context of the times depicted? One could find other priorities in a film, to be sure, but it would be a rare story that didn’t have some serious blind spots.

The funny thing about such blind spots is they can be hard to see at first, but once you find them, they can be equally hard to ignore.

***

Okay, so one of the ways I am cheating my way through this topic, so far, is that I keep picking examples where one can arrive at a reasonably sure sense of what the facts would say about a given issue, what would count as real if we chose to care about it. What about when you don’t know? What is realism when we don’t exactly know what the fact is?

Take the film, Atanarjuat (Fast Runner). Better yet, take the film Reel Injun in which director, Zacharias Kunuk discusses one of the challenges he faced in making Atanarjuat. He wanted to shoot some love scenes, but that raised an interesting question. How would two Inuits living essentially in the pre-contact era have actually made love. He couldn’t very well just have them start sucking face for foreplay, as would be the case in most love scenes, because Inuit in the precontact era didn’t kiss the way people do now. Lots of people have heard of an ‘Eskimo kiss’, which is essentially rubbing noses, or so we are told, but how does that work? Past movies set in the arctic depict this in rather comic terms, which was definitely not what Kunuk was going for. He wanted to portray this as accurately as possible. So, he talked to the elders in his own community and based his own love scenes on their answers.

So, is the ‘Eskimo kiss’ in Atanarjuat accurate? Is it realistic?

It seems rather likely that the answer is ‘yes’, but that isn’t entirely obvious. The elders Kunuk spoke to, might have been wrong. It’s certainly possible. Historical information isn’t carried in the blood, and customs change a great deal over time while people’s ideas about tradition are often rooted in the eras of their own youth. So, it is possible that Kunuk’s elders might have been factually wrong about an Eskimo kiss.

So what if they were?

Worst case scenario, the love scene in Atanarjuat is still the best answer that an Inuit director could come up with after speaking with Inuit elders in preparation for a movie with an Inuit cast and made essentially with an Inuit audience in mind. I can manufacture (as I just did) an objective question that Kunuk might have gotten wrong, but his answer is still the most authoritative I know of. It is certainly the most authoritative answer most of his non-Inuit audience will ever see. Whatever the facts of this topic, Kunuk’s portrayal is still a thoughtful expression of an Inuit perspective about the subject. That has to count for something.

So if someone asks me what is an ‘Eskimo kiss’, how am I going to answer them? I’m going to point them right to Atanarjuat, or maybe to Reel Injun. Of course, I could also say that an ‘Eskimo kiss’ is a silly western caricature of what different Eskimo peoples actually did, but then I’m still going to point them to Fast Runner, because what happens in Fast Runner is STILL the most authoritative answer to that question that I know of, at least on film. In effect, it is the most realistic film portrayal that I’m aware of at present.

The point here in this overly-belabored sub-theme is that realism isn’t always about objective facts. Sometimes it’s about perspective, Sometimes, it’s about the most authentic voice(s) you can find on a subject, the ones whose values and priorities are most relevant to a subject. This is particularly true of movies about exotic peoples, whether they be past civilizations, foreign cultures, or just the guy who does that really odd job. An outsider might manage a perfectly accurate portrayal of the lives of such people, but without some insight into their thinking, what would that be worth? Such insights must involve a native voice at some point. Better still when that voice can actually shape the narrative!

Will such a voice come with its own contrivance?

Of course.

Also, there is no Santa Clause.

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